In this chapter I examine an astute observation on Documentary provided in 1966 by the Frenchman Chris Marker (1921–2012), aka “Chris and Magic Marker,” and “a cosmonaut of human memory.” Aside from his pioneering treatment of cinematic imagery, emphasizing the tension between still photography and cinema’s moving images, Marker was known from the mid-1940s for his philosophical and poetic wit. In May of 1966, Marker published an article entitled “L’objectivité passionnée” (“Passionate Objectivity”) in the journal Jeune Cinéma. The article followed a 1965 screening of his renowned documentary film Le joli mai (1962) at the celebrated “Jeune cinema” film festival. In this short article, Marker argues that for him, in his capacity as documentarian, to take up and then follow the path of “une objectivité Passionnée” requires two distinct actions: (a) not to surrender to the temptation of blindly following your own convictions as a director, and (b) not to reduce people to the level of an illustration for the needs of the film. Consequently, the chapter explores two hermeneutical trajectories. On the one hand, it delves into what I term “the Markerain principle of duality.” On the other, I argue that this description fits in more ways than one and deeply echoes the heartbeat of Kant’s moral theory.